Mozart's Magic Flute Appreciation Thread

[knight66]

Try these sources, they seem reasonable,

http://www.amazon.co.uk/s/ref=nb_ss?url=search-alias%3Dclassical&field-keywords=magic+flute+klemperer

Mike

[Tsaraslondon]

Pretty reasonable here too

http://www.mdt.co.uk/MDTSite/pages/search/searchresults.asp?sGeneralSearch=zauberflote+klemperer&sGeneralSearchSection=General&x=0&y=0&startfrom=1&sCatalogueNumber=&submitflag=true&sMSLSort=Filter2Date+DESC,+ProductView+DESC,+SaleView+DESC&bSortBy=DESC&serial=10011830080969417

[fixed link - Maciek]

[Sylph]

Who is your favourite Queen of the Night in Mozart's The Magic Flute? If there are several, name them and say what is it that you like most in every one of them. The performance of the opera as a whole can be dreadful, you may pick the short appearance of the Queen irrelevant of that.

And which performance of this opera on disc is the one you prefer?

[Scarpia]

I love Zauberflote, but it falls flat for me if a hint of seriousness comes into the production.  It has to be a campy farce.  This is by far my favorite.  Diana Damrau in the Opus Arte DVD

http://www.youtube.com/watch?v=7EUOmdxo2jE

http://www.youtube.com/watch?v=DvuKxL4LOqc

[knight66]

Some singers turn the Queen into an angry doll, or they get round the notes with little expression. Sumi Jo falls into the latter category. An excellent technique, but not hot on expressiveness.

Of the versions I know, my favourite is Lucia Popp, she combines all the qualities needed, formidable, but with beauty of tone and a great technique.

Mike

[Tsaraslondon]

Diana Damrau certainly gets round the notes in the excerpts on youtube, though she doesn't entirely avoid the angry doll trap.
On the two recordings I own, Roberta Peters (on Bohm's DG set) is shrill, though she does at least sound dangerous. Natalie Dessay (on the Christie) is accurate, but completely devoid of expression (strange for someone noted for her acting).
I'd second Mike's vote for Lucia Popp, the best I've ever heard. Interesting to note that she went on to become one of the best of Paminas.

[Scarpia]

Diana Damrau certainly gets round the notes in the excerpts on youtube, though she doesn't entirely avoid the angry doll trap.
On the two recordings I own, Roberta Peters (on Bohm's DG set) is shrill, though she does at least sound dangerous. Natalie Dessay (on the Christie) is accurate, but completely devoid of expression (strange for someone noted for her acting).
I'd second Mike's vote for Lucia Popp, the best I've ever heard. Interesting to note that she went on to become one of the best of Paminas.

"Singing doll?"  It's hard to imagine that there are subtleties that can be missed in a character called "The Queen of the Night."   

[knight66]

Natalie Dessay........now this is something I intended to write on another thread, but did not. I enjoy watching Dessay. I have her of=n a couple of DVDs and went to one of the Met broadcasts to see her and she was wonderful. But; I have two CDs and can't get much pleasure from simply listening to her. My opinion is that seeing her is adding substantially to the experience. Only listening to her, you understand how devoid of vocal colouring she is.

Mike

[knight66]

"Singing doll?"  It's hard to imagine that there are subtleties that can be missed in a character called "The Queen of the Night."   

'Angry' doll, rather than 'singing' doll. The angry ones sound like they are extremely displeased to be shaken so hard and fast that they emit a fast stream of angry notes like a machine gun. The words don't register.

Add in Rita Streich, a delightful singer. In this part she is fast but not furious.

Mike

[Scarpia]

'Angry' doll, rather than 'singing' doll. The angry ones sound like they are extremely displeased to be shaken so hard and fast that they emit a fast stream of angry notes like a machine gun. The words don't register.

Add in Rita Streich, a delightful singer. In this part she is fast but not furious.

Mike

Yes, angry, typo. 

[Que]

Sie kommt!!



BBC Review
Jacobs's account is a game-changer: we will never listen to this the same way again.

Graham Rogers 2010-08-25

It's a much-abused term, but for once nothing else will do: René Jacobs's new recording of Die Zauberflöte (The Magic Flute) really is a revelation. The opera's unique blend of high art and popular entertainment – combining a paean to Enlightenment values with romance and earthy comedy – is not easy to pin down, but Jacobs's theatrical flair ensures a triumphant success. If you think you know Zauberflöte, think again: Jacobs brings it to life like never before.

One of the set's greatest strengths is the vibrancy of its spoken dialogue (complete). Avoiding po-faced recitation, Jacobs encourages his cast to give colourful performances in 18th century Viennese style. Many of the Three Ladies' lines are even delivered in sing-song declamations: the musical cries of "Sie kommt!" which herald the Queen of the Night's arrival are marvellously hysterical. Scenes are further enlivened by stylishly improvised fortepiano accompaniments (Mozart himself directed the first performances from the keyboard) and a wind machine and array of thunder-boards help create a wonderfully homogenous atmosphere.

With a generally youthful cast boasting some lovely voices, the music is equally captivating. Jacobs is all about excitement and making the most of orchestral detail: the breakneck overture only manages to stay on the rails thanks to stunning playing from the Akademie für Alte Musik Berlin; the ferocious sturm und drang of the opening number is spine-tingling. There's sensitivity too, in the heartrending arias for Pamina (Marlis Petersen) and Tamino (Daniel Behle). Daniel Schmutzhard's lively Papageno is a delight.

Jacobs's idiosyncratic flexibility with tempi and articulation results in some striking emphasises, but also some disjointed moments – such as the jarring pauses between each phrase of the magic bells melody in Act 1. The ad lib bells continuation after the chorus of beasts has tra-la-la-ed off stage, however, effectively bridges the often awkward hiatus before the sublime duet "Könnte jeder brave Mann".

The sound is vivid and well-balanced, and the lavish accompanying booklet (which smells bizarrely – magically? – of marzipan), contains detailed notes and full libretto.

There are many magnificent Zauberflöte recordings, and this new one certainly isn't the last word, but no one else offers such an engagingly theatrical experience. Full of surprises, Jacobs's account is a real game-changer: we will never listen to this multi-faceted masterpiece in the same way again

[Sergeant Rock]

One of the set's greatest strengths is the vibrancy of its spoken dialogue (complete).

A different take:

"In this production Jacobs has restored every line of Schikaneder's dialogue. Despite quick tempos, the performance comes in at 10 minutes short of three hours. There is seven minutes of dialogue between "Der Vogelfäder..." and "Dies Bildnis" and another six before "Bei Männern", made no less tedious by the pianoforte's replaying of the "Bildnis" aria under Papageno's and Pamina's conversation. And there are another dozen non-musical stretches, each averaging close to three minutes. If you don't speak German, and don't find Schikaneder's text particularly riveting (which you won't, particularly after the first hearing, even if you do speak German), you will find yourself pressing the fast-forward button--which sometimes fools you because aria and text are on the same track."--Robert Levine, ClassicsToday


Sarge

[knight66]

I was afraid of that. I bought the Abbado and when I reviewed it here I gave it a top recommendation for modern recordings, partly because he manages the dialogue in a lively manner. Nevertheless, there are longueurs of speech in Act 2 and there is nowhere near the quantity that Jacobs supplies. I think I will keep my credit card in my pocket for now.

Mike

[Sergeant Rock]

I think I will keep my credit card in my pocket for now.
Mike

Me too. In the theater, I enjoy the dialogue, the action. But on record...well, I turn most often to Klemperer 


Sarge

[knight66]

Yes, Klemperer remains my touchstone. The Engllish language Mackerras version is excellent and the Abbado I have praised. I also have the elderly mono Karajan version...as do you, then there is the exciting Fricsay set...so I am hardly starved for Magical Flutes.

Mike

[Scarpia]

Yes, Klemperer remains my touchstone. The Engllish language Mackerras version is excellent and the Abbado I have praised. I also have the elderly mono Karajan version...as do you, then there is the exciting Fricsay set...so I am hardly starved for Magical Flutes.

Mike

Fricsay is marvelous.  My imagination is is incapable of conceiving a recording by Klemperer being good.   

[knight66]

Well, it does not contain laughs. But neither is it ponderous, rather it is serious. There are some aspects of his way with the score that I prefer above all others. Hand in hand with his insights go the astonishing cast. I don't think it has been equaled on disc. Apart from the sets above, I have had several others pass through my hands. But, if you are so happy with the Fricsay, then why explore.

I was thinking about this duplication issue the other day. I have more than one version of most of my favourite operas. Fidelio; can't get enough. same for Tristan, Carmen, Don Carlos. But then; for Peter Grimes I have Davis with Vickers and Heather Harper. For that piece I cannot imagine it being performed more to my taste. So, it sits as a sole representative of a masterpiece.

Mike

[Sergeant Rock]

Fricsay is marvelous.  My imagination is is incapable of conceiving a recording by Klemperer being good.   

Not good...the best. 

Sarge

[czgirb]

I wish I can help myself by planning buy Beecham 1937's Magic Flute.
But there is so much version ... EMI, Nimbus, Naxos, Pearl, Conniseur, & Arkadia.
Which one will provides better sounding
Please inform ...

[Dancing Divertimentian]

I wish I can help myself by planning buy Beecham 1937's Magic Flute.
But there is so much version ... EMI, Nimbus, Naxos, Pearl, Conniseur, & Arkadia.
Which one will provides better sounding
Please inform ...

Naxos's is probably the most recent remastering and with either Marston or Obert-Thorn at the engineering helm it's unlikely that the others will measure up. And Naxos generally has the lowest prices, too. A nice bonus.